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& Pryor Gallery, Silverwood Park, Minnesota State University">Betsy Alwin’s Sculpture at Kolman & Pryor Gallery, Silverwood Park, Minnesota State University

Betsy Alwin will show her concrete and metal sculptures at Silverwood Park, Kolman & Pryor Gallery, and Minnesota State University during September and October.

INFRA: Betsy Alwin at Silverwood Park
Infra is a new outdoor concrete and metal sculpture that will be shown on the grounds of Silverwood Park, Three Rivers Park District, in St. Anthony, MN.
Opening Reception
: September 14th from 6:00pm – 8:00pm.
Exhibition Dates: September 14th – October 21st. 

“My interest in casting lace concrete forms is derived from my recent and current body of work that incorporates lace and ceramic form. I wanted to combine the delicate nature of lace with the harsh durability and weight of concrete. The decorative lace texture combined with the contrast of blue and white refers to domestic ware but also allows one to see the forms in a different way.  These cast forms are combined with rebar, emphasizing an industrial and construction context. I am also excited to experiment with larger forms in an outdoor public setting. In this way, my work can engage more viewers for longer periods of time.The title, “Infra-,“ is derived from Latin meaning under or below. Besides being the prefix of infrastructure, I also take it as a way to connote what is there but not seen; what is taken for granted.

3 Betsy Card Flatten

 

 

 

 

 

 

 

 

 

 

 

 

BEYOND CANVAS: Group Sculpture Exhibition at Kolman & Pryor Gallery
Opening Reception: September 23rd from 7pm – 9pm.
Exhibition Dates: September 16th – October 28th.
More information at kolmanpryorgallery.com

cast lace concrete forms by Betsy Alwin
Infra Image

 

 

 

 

 

 

 

 

 

BETSY ALWIN participating in Faculty, Emeritus, Alumni, 150!
A group exhibition celebrating 150 years of Minnesota State University, Mankato.
Opens: September 28th, Reception: October 8th 3:00 -5:00 pm.





 

Betsy Alwin in “Eight Artists” at 369 Gallery, St. Paul, MN

Betsy Alwin recently exhibited her sculpture in “Eight Artists”, a group show at 369 Gallery in St. Paul, MN.

Eight Artists is a diverse selection of new works exhibited at Space 369 through an open call for art. These artists were selected by the juror, Candice Hopkins. The exhibition included painting, sculpture and performance works.

space369.online is an alternative, non-commercially funded, arts project space located in Saint Paul. This exhibition is made possible through the support of the Knight Foundation.

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“Buttress” by Betsy Alwin





 

Time/Keep : David Malcolm Scott and Rebecca Krinke

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David Malcolm Scott, Lake Superior Vista                         Rebecca Krinke, The Keep (detail)

Time/Keep : David Malcolm Scott and Rebecca Krinke

Exhibition: April 1 – 30, 2017
Opening Reception: Saturday, April 8, 7-10pm

Rosalux Gallery is pleased to announce Time/Keep, an exhibition of new work by David Malcolm Scott and Rebecca Krinke featuring a large-scale sculptural work by Rebecca and a suite of paintings and drawings by David. The exhibition brings together the artists’ shared interest in time and memory, with a particular interest in what can be remembered or recorded and what can only be sensed or imagined.

David Malcolm Scott presents a new series of works exploring time and place – featuring a 30’ long watercolor scroll that literally starts with the formation of galaxies and moves forward through terrestrial epochs. David then uses this piece with its timeline format to add small scroll paintings above and below to reveal memories and dreams of one person’s life, in this case, the artist himself.

Time and place are highlighted in different ways in David’s two other series on view: in Weekly Commute, vivid slices of the sky are seen framed by dramatic building silhouettes, and in the stylized landscapes, the deep time of geological formations are juxtaposed with the more fleeting forms of forests, grasses, cities, and skies.

Rebecca Krinke presents a large installation, The Keep, which creates a domestic, psychological space of wonder and terror. The Keep continues her series of bed sculptures, although here a charred 4-poster bed hangs from the ceiling, upside down, bound by black-feathered walls – becoming a more abstract container/portal of space. Stacks of her dozens of black bound notebooks are visible but inaccessible on the burned wood floor below.

“Keep” as a noun originated in the Middle Ages, and was a place used as a refuge of last resort should the castle fall to an adversary. Rebecca’s installation evokes questions about what we keep, where we keep, and the costs of keeping: memories, secrets, notebooks, relationships, possessions, houses…This work and her larger practice is both highly personal and collective – in its explorations of private, public, and liminal space.

 

For more info about the artists:

http://rebeccakrinke.com/
http://www.davidmalcolmscott.com/

Rosalux Gallery
1400 Van Buren Street NE, #195
Minneapolis, MN 55413





 

“Last Refuge” New Work by Eleanor McGough and a group show introducing three new Rosalux artists: Betsy Alwin, John Gaunt, Jim Hittinger

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Poetry/Fiction Reading at Rosalux Sept. 28, 7:00pm

Poetry/Fiction Reading at Rosalux Gallery Sept. 28, 7:00pm in conjunction with Laura Stack’s and Amy Toscani’s art exhibit. Featuring University of Minnesota MFA Writers: Lalinne Suon Bell, Katie Rensch, Florencia Lauria, J. Fossenbell, & Katherine J. Lee. Organized by Zoë Miller.
https://www.facebook.com/events/206746676159023/

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Artist Talk: Sat. Sept. 14, 1:00 PM – David Lefkowitz, Laura Stack, Amy Toscani

Artist Talk: Sat. Sept. 14, 1:00 pm – A conversation with Laura Stack, Amy Toscani, and David Lefkowitz (Associate Professor of Art, Carleton College) in conjunction with Rosalux Gallery’s current exhibition “ODDITIES and CURIOSITIES”: AMY TOSCANI’S plastic sculptures and LAURA STACK’S mixed media drawings.

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Rosalux Artist Amy Toscani’s Latest Show Reviewed In Minneapolis Star Tribune

Check out this article reviewing the work of Amy Toscani on display at the SOO Visual Arts Center until May 20th:

Pot Luck

Article by: MASON RIDDLE
Updated: April 12, 2012 – 3:31 PM

Twin Cities sculptor Amy Toscani puts a Midwest spin on mixed media.

Amy Toscani may well be the original material girl. For the Twin Cities artist, no material or found object is too banal. Asphalt, plastic, polyester, pipe cleaners, inflatable toys, dog sweaters — all harbor as much potential as steel, stone, wood or paint.

Since Toscani first installed her work at Franconia Sculpture Park in the late 1990s, her outsized, quirky, even clumsy sculptures, sporting bright colors, weird shapes and unconventional appendages, have attracted a devoted fan base. Her pastel-hued “Molecule,” which dominates the front lawn of the University of Minnesota’s Molecular and Cellular Biology Building along Washington Avenue SE., injects humor into science while suggesting a jungle gym for Brobdingnagians. Similarly the red-and-blue “Muscle,” equal parts whirligig and vegetable on legs, has presided with goofy authority over the St. Paul Farmers Market (currently it’s in St. Paul’s Western Sculpture Park because of light-rail construction).

Her new exhibit “Body Double” at SooVAC features work on a much smaller scale, but the aesthetic recipe of mundane materials, changing scale, cultural puns and off-key humor is here in force.

She describes her new mixed-media works as investigations of Americana, “embodiments of Midwestern living.” In its synthesis of materials, form and personal narrative, Toscani’s work makes blunt and opaque references to small-town parades and rural living, the culture of kitsch, the innocence of childhood, the impact of aging, how artifice is confused with reality, even queer culture. They seem to raise more questions about their exact identity than they answer. At its most elemental level, the work is a collage of Toscani’s past and present, a sort of idiosyncratic self-portrait animated through materials.

“Tableaux,” for example, is a miniature parade float, adorned with white fringe and garish plastic decoration in vivid hues. But instead of hosting celebs, athletes or contestants waving to the crowd, the float is affixed with a child’s inflatable seesaw, a small playground ladder and four little leather boxing gloves.

“Leisure Suit” was inspired by homemade potholders. Ungainly but humorous, its tall, welded loom-like armature, whose shape defies description, is embedded in an asphalt base and woven with strips of polyester fabric in such colors as taupe, turquoise, black and orange. Although “Leisure Suit” has no function, it still evokes a do-it-yourself craft sensibility, and magnifies the term “lowbrow.”

Equally vague is a small, colorful, three-legged work titled “Patsy.” Made from recycled and melted plastic objects such as a child’s sled, Kool-Aid pitchers and recipe boxes, it projects a familiarity, but of what?

In “Somebody Else’s Self-Portrait” a figurative form wears a red dog sweater. Its bulbous head, made of black and white pipe cleaners, is a reference to the artist’s graying hair.

More overt is “Butch Girl.” At 10 feet tall, the painted plywood Dutch girl cutout, wooden shoes and all, is a lesbian riff on the iconic Dutch Boy Paints image that parodies the statues found at amusement parks and cultural sites where one inserts one’s face into an opening. Here, in a twisted but effective commentary, the opening is in the “Butch Girl’s” crotch.

Although provocative, the show seems more a collection of visual ruminations or sculptural sketches than completed works. More like ideas in the making, “Leisure Suit” and “Tableau” are engaging on first take, but their content or raison d’être is too opaque to resonate over time. “Butch Girl” is the exception. Here, Toscani effectively fuses her cultural critique to the appropriate materials and execution to create a smart, resolved work.

Scale has its own power, and “Butch Girl” succeeds, in part, because of its size. Similarly, scale plays a big role in the effectiveness of Toscani’s large outdoor pieces. It is not an intellectual stretch to envision “Muscle” and “Molecule” as crazy cousins to Minnesota’s towering Paul Bunyan or giant-walleye statues, a sort of inverted underbelly of American roadside culture.